Petals for Violincello and Live Helikopter- Sequenza for Cello Suite Black
Electronics (Saariaho) Streichquart Flute (Berio) No. 1 in G Angels
ett major (Crumb)
(Stockhause (Bach)
n)
Context Saariaho: turning point when she listened 1995 1958 1720 1971
to the French Spectral composers+ led her Serially The first of a Virtuosic solo ‘In a time
to study at the IRCAM in Paris, her composed series of work with of war’
interests include computer-based sound sequenzas for outrageous written into
spectrum analysis/electronic music/music different demands on the score
combining live performance + electronics instruments the performer Expresses
Spectralism: originated in Paris Showing of the Considered criticisms
(particularly around IRCAM), all virtuosic modern daring during of the
composers associated with it write very flute techniques his day Vietnam
different music, share a common aesthetic Partially War
based on the use of computer analysis of indeterminate Written
sounds a basis of composition, the around the
structure of the sound (harmonics) can be numbers 7
converted into a chord (then used as basis + 13
of piece) (traditionall
Indeterminacy: much cannot be predicted y related to
before the performance, certain decisions fate/
left to performer, live electronic destiny)
manipulation = every performance
different
Petals: written in 1988, based on ideas
from Nympheas (Jardin Secret 3 –
Waterlilies) for string quartet/ electronics
with material derived from the spectral
analysis of complex cello sounds
Perform Cello (+ optional electronics) String quartet Solo flute Solo cello Palindromi
ing Harmonizer: alters frequency of signal, and four (unaccompanie c structure
changes its pitch, set to produce helicopters d ‘studies’) of no. of
Forces
microtonal shifting (1/4 tone on both sides (sound like instrument
of input signal) musical s Amplified
Reverb: sound made to reverberate instruments) string
, slightly, clear + bright sound, set to about Delay and quartet –
2.5 secs reverb surrealist
Amplification: microphones placed close to technology effect (+
cello, amplified sound sent to both Voice (yelling bowed
loudspeakers numbers) water-
tuned
crystal
goblets/
maracas/et
c)
Sonority Pizzicato; tremolando; glissandi (smooth Glissandi Contrast of Flowing Begins sul
slides); normal, extreme or no vibrato; Tremolo aggressive forward ponticello
mordent + trills; double stops; Col legno against motion with with
subtle/exaggerated dynamic change Sul ponticello introspective resonating tremolo,
Sul ponticello (brings out higher Timbral timbres pedal notes on glissandi
harmonics, nasal tone) helicopter sound Techniques open strings between
Sul tasto (soft/thin/ethereal sound) used: (G and D) – notes +
Natural and artificial harmonics - spitting uplifting, very high
Estremamente flautando bowing accents, key positive registers
(extremely like a flute, decrease bow clicks, flutter Low creating an
pressure to produce a soft, noisy, glassy tonguing resonating C intense,
wind-like murmur) (heightens string – harsh,
Bow pressure (e.g. heavy bow pressure to activity), rich/deep painful
produce scratching sound = noise) double timbre
Suggests use of electronics by making tonguing very
cello into a multi-timbral synthesiser, fast
emphasis on shifting soundscapes - Multiphonics
Contrast between clean/noisy sounds – (multiple notes
clearest high harmonic to rich, scratching, at once) =
heavy bow pressure beautiful sound
Structur No conventional structure – tension Ascent phrase: Proportional A series of Palindromi
e between two types of material + gradually distance short rhythmic c structure
exploration of timbre increasing between notes broken chord with a
A: fragile colouristic passages pitches denotes their patterns Threnody
B: more energetic, clear rhythmic/melodic Punctuated 9 duration develop into at the start,
character times by vocal Staves have large end +
Types of material broadly alternate (with counting in fixed durations crescendos exactly half
Electronics (Saariaho) Streichquart Flute (Berio) No. 1 in G Angels
ett major (Crumb)
(Stockhause (Bach)
n)
Context Saariaho: turning point when she listened 1995 1958 1720 1971
to the French Spectral composers+ led her Serially The first of a Virtuosic solo ‘In a time
to study at the IRCAM in Paris, her composed series of work with of war’
interests include computer-based sound sequenzas for outrageous written into
spectrum analysis/electronic music/music different demands on the score
combining live performance + electronics instruments the performer Expresses
Spectralism: originated in Paris Showing of the Considered criticisms
(particularly around IRCAM), all virtuosic modern daring during of the
composers associated with it write very flute techniques his day Vietnam
different music, share a common aesthetic Partially War
based on the use of computer analysis of indeterminate Written
sounds a basis of composition, the around the
structure of the sound (harmonics) can be numbers 7
converted into a chord (then used as basis + 13
of piece) (traditionall
Indeterminacy: much cannot be predicted y related to
before the performance, certain decisions fate/
left to performer, live electronic destiny)
manipulation = every performance
different
Petals: written in 1988, based on ideas
from Nympheas (Jardin Secret 3 –
Waterlilies) for string quartet/ electronics
with material derived from the spectral
analysis of complex cello sounds
Perform Cello (+ optional electronics) String quartet Solo flute Solo cello Palindromi
ing Harmonizer: alters frequency of signal, and four (unaccompanie c structure
changes its pitch, set to produce helicopters d ‘studies’) of no. of
Forces
microtonal shifting (1/4 tone on both sides (sound like instrument
of input signal) musical s Amplified
Reverb: sound made to reverberate instruments) string
, slightly, clear + bright sound, set to about Delay and quartet –
2.5 secs reverb surrealist
Amplification: microphones placed close to technology effect (+
cello, amplified sound sent to both Voice (yelling bowed
loudspeakers numbers) water-
tuned
crystal
goblets/
maracas/et
c)
Sonority Pizzicato; tremolando; glissandi (smooth Glissandi Contrast of Flowing Begins sul
slides); normal, extreme or no vibrato; Tremolo aggressive forward ponticello
mordent + trills; double stops; Col legno against motion with with
subtle/exaggerated dynamic change Sul ponticello introspective resonating tremolo,
Sul ponticello (brings out higher Timbral timbres pedal notes on glissandi
harmonics, nasal tone) helicopter sound Techniques open strings between
Sul tasto (soft/thin/ethereal sound) used: (G and D) – notes +
Natural and artificial harmonics - spitting uplifting, very high
Estremamente flautando bowing accents, key positive registers
(extremely like a flute, decrease bow clicks, flutter Low creating an
pressure to produce a soft, noisy, glassy tonguing resonating C intense,
wind-like murmur) (heightens string – harsh,
Bow pressure (e.g. heavy bow pressure to activity), rich/deep painful
produce scratching sound = noise) double timbre
Suggests use of electronics by making tonguing very
cello into a multi-timbral synthesiser, fast
emphasis on shifting soundscapes - Multiphonics
Contrast between clean/noisy sounds – (multiple notes
clearest high harmonic to rich, scratching, at once) =
heavy bow pressure beautiful sound
Structur No conventional structure – tension Ascent phrase: Proportional A series of Palindromi
e between two types of material + gradually distance short rhythmic c structure
exploration of timbre increasing between notes broken chord with a
A: fragile colouristic passages pitches denotes their patterns Threnody
B: more energetic, clear rhythmic/melodic Punctuated 9 duration develop into at the start,
character times by vocal Staves have large end +
Types of material broadly alternate (with counting in fixed durations crescendos exactly half
